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    <section class="chapter">
        <p>employed were not always those of matured letter-founding, seems
            to us not only probable, but evident, from a study of the works themselves.</p>

        <p>Mr. Theo. De Vinne, in his able treatise on the invention of printing,<span class="note" data-note="19" id="note-19"><em>The Invention of Printing.</em>
                New York, 1876. 8vo.</span>
            speaking with the authority of a practical typographer, insists that the key to
            that invention is to be found, not in the press nor in the movable types,
            but in the adjustable type-mould, upon which, he argues, the existence of
            typography depends. While not prepared to go as far as Mr. De Vinne
            on this point, and still content to regard the invention of movable types as the
            real key to the invention of typography proper, we find in the mould not only
            the culminating acchievement of the inventor, but also the key to the distinction
            between the two schools of early typography to which we have alluded.</p>

        <p>The adjustable mould was undoubtedly the goal of the discovery, and those
            who reached it at once were the advanced typographers of the Mentz press.
            Those who groped after it through clumsy and tedious by-ways were the rude
            artists of the <em>Donatus</em> and <em>Speculum</em>.</p>

        <p>In considering the primitive modes of type-casting, it must be frankly
            admitted that the inquirer stands in a field of pure conjecture. He has only
            negative evidence to assure him that such primitive modes undoubtedly did
            exist, and he searches in vain for any direct clue as to the nature and details
            of those methods.</p>

        <p>We shall briefly refer to one or two theories which have been propounded,
            all with more or less of plausibility.</p>

        <p>Casting in sand was an art not unknown to the
            silversmiths and trinket-makers of the fifteenth century, and several writers have suggested that some of
            the early printers applied this process to typefounding. M. Bernard<span class="note" data-note="20" id="note-20"><em>Origine de l’Imprimerie</em>,
                i, 40.</span>
            considers
            that the types of the <em>Speculum</em> were sand-cast, and accounts for the varieties
            observable in the shapes of various letters, by explaining that several models
            would probably be made of each letter, and that the types when cast would, as is
            usual after sand-casting, require some touching up or finishing by hand. He
            But admitting the possibility of producing type
            in this manner, and the possible obtuseness which could allow an inventor of
            printing to spend five years in laboriously engraving “shanks” enough for a single
            forme, the lack of any satisfactory evidence that such types were ever used, even
            experimentally, inclines us to deny them any place in the history of the origin
            of typography.
            Mr. Skeen seriously applies himself to demonstrate how the shanks could
            be cast in clay moulds stamped with a number of trough-like matrices representing
            the various widths of the blanks required, and calculates that at the rate
            of four a day, 6,000 of these blanks could be engraved on the end by one man
            in five years, the whole weighing 100 lb, than in the perforated
            wood types. The enormous labour involved, in itself renders the idea improbable.
            body of their types together?”
            shows a specimen of a word cast by himself by this process, which, as far as it
            goes, is a satisfactory proof of the possibility of casting letters in this way.<span class="note" data-note="21" id="note-21">Mr. Blades points out that there
                are no overhanging
                letters in the specimen. The necessity for such letters would be, we
                imagine, entirely obviated by the numerous combinations with which the
                type of the printers of the school abounded. The body is almost always
                large enough to carry ascending and descending sorts, and in width,
                a sort which would naturally overhang, is invariably covered by its
                following letter cast on the same piece.</span>
            There are, indeed, many points in this theory which satisfactorily account
            for peculiarities in the appearance of books printed by the earliest rude Dutch
            School. Not only are the irregularities of the letters in body and line intelligible,
            but the specks between the lines, so frequently observable, would be accounted
            for by the roughness on the “shoulders” of the sand-cast bodies.<span class="note" data-note="22" id="note-22">It is well known that until
                comparatively recently the
                large “proscription letters” of our foundries, from three-line pica and
                upwards, were cast in sand. The practice died out at the close of last
                century.</span></p>
       
    </section>
    <section class="chapter2">
        <p>employed were not always those of matured letter-founding, seems
            to us not only probable, but evident, from a study of the works themselves.</p>
    
        <p>Mr. Theo. De Vinne, in his able treatise on the invention of printing,<span class="note" data-note="19"
                id="note-19"><em>The Invention of Printing.</em>
                New York, 1876. 8vo.</span>
            speaking with the authority of a practical typographer, insists that the key to
            that invention is to be found, not in the press nor in the movable types,
            but in the adjustable type-mould, upon which, he argues, the existence of
            typography depends. While not prepared to go as far as Mr. De Vinne
            on this point, and still content to regard the invention of movable types as the
            real key to the invention of typography proper, we find in the mould not only
            the culminating acchievement of the inventor, but also the key to the distinction
            between the two schools of early typography to which we have alluded.</p>
    
        <p>The adjustable mould was undoubtedly the goal of the discovery, and those
            who reached it at once were the advanced typographers of the Mentz press.
            Those who groped after it through clumsy and tedious by-ways were the rude
            artists of the <em>Donatus</em> and <em>Speculum</em>.</p>
    
        <p>In considering the primitive modes of type-casting, it must be frankly
            admitted that the inquirer stands in a field of pure conjecture. He has only
            negative evidence to assure him that such primitive modes undoubtedly did
            exist, and he searches in vain for any direct clue as to the nature and details
            of those methods.</p>
    
        <p>We shall briefly refer to one or two theories which have been propounded,
            all with more or less of plausibility.</p>
    
        <p>Casting in sand was an art not unknown to the
            silversmiths and trinket-makers of the fifteenth century, and several writers have suggested that some of
            the early printers applied this process to typefounding. M. Bernard<span class="note" data-note="20"
                id="note-20"><em>Origine de l’Imprimerie</em>,
                i, 40.</span>
            considers
            that the types of the <em>Speculum</em> were sand-cast, and accounts for the varieties
            observable in the shapes of various letters, by explaining that several models
            would probably be made of each letter, and that the types when cast would, as is
            usual after sand-casting, require some touching up or finishing by hand. He
            But admitting the possibility of producing type
            in this manner, and the possible obtuseness which could allow an inventor of
            printing to spend five years in laboriously engraving “shanks” enough for a single
            forme, the lack of any satisfactory evidence that such types were ever used, even
            experimentally, inclines us to deny them any place in the history of the origin
            of typography.
            Mr. Skeen seriously applies himself to demonstrate how the shanks could
            be cast in clay moulds stamped with a number of trough-like matrices representing
            the various widths of the blanks required, and calculates that at the rate
            of four a day, 6,000 of these blanks could be engraved on the end by one man
            in five years, the whole weighing 100 lb, than in the perforated
            wood types. The enormous labour involved, in itself renders the idea improbable.
            body of their types together?”
            shows a specimen of a word cast by himself by this process, which, as far as it
            goes, is a satisfactory proof of the possibility of casting letters in this way.<span class="note"
                data-note="21" id="note-21">Mr. Blades points out that there
                are no overhanging
                letters in the specimen. The necessity for such letters would be, we
                imagine, entirely obviated by the numerous combinations with which the
                type of the printers of the school abounded. The body is almost always
                large enough to carry ascending and descending sorts, and in width,
                a sort which would naturally overhang, is invariably covered by its
                following letter cast on the same piece.</span>
            There are, indeed, many points in this theory which satisfactorily account
            for peculiarities in the appearance of books printed by the earliest rude Dutch
            School. Not only are the irregularities of the letters in body and line intelligible,
            but the specks between the lines, so frequently observable, would be accounted
            for by the roughness on the “shoulders” of the sand-cast bodies.<span class="note" data-note="22"
                id="note-22">It is well known that until
                comparatively recently the
                large “proscription letters” of our foundries, from three-line pica and
                upwards, were cast in sand. The practice died out at the close of last
                century.</span></p>
    
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